May 3 | 
XHINGS AND COLOR PRINTS BY THE MODERN MASTERS 
MEZZOTINT PORTRAITS OF FAMOUS AMERICANS 
ORIGINAL SPORTING PRINTS IN COLOR 
VIEWS AND PAINTINGS OF SAN FRANCISCO 


AND OTHER AMERICAN CITIES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
AT 8:30 ON THE EVENINGS OF 
WEDNESDAY, MAY 3rd, AND THURSDAY, MAY 4th, 1916 
UNDER THE MANAGEMENT OF 
THE AMERICAN ART ASSOCIATION 
AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH 
NEW YORK CITY 


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THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


A, 


ON PUBLIC EXHIBITION 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23xn STREET 


BEGINNING SATURDAY, APRIL 29th, 1916 
AND CONTINUING UNTIL THE TIME OF SALE 


ECTHINGS AND COLOR PRINTS BY THE MODERN MASTERS 
MEZZOTINT PORTRAITS OF FAMOUS AMERICANS 
ORIGINAL SPORTING PRINTS IN COLOR 
VIEWS AND PAINTINGS OF SAN FRANCISCO 
AND OTHER AMERICAN CITIES 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF THE CONSIGNORS REFERRED TO HEREIN 


ON WEDNESDAY, MAY 3rd, AND THURSDAY, MAY 4th, 1916 
AT THE HOUR OF 8:30 IN THE EVENINGS 


AT THE AMERICAN ART GALLERIES 


AG 


GEORGE WASHINGTON 


(See No. 192) 


ILLUSTRATED CATALOGUE OF 


ETCHINGS AND COLOR PRINTS BY THE MODERN MASTERS 
MEZZOTINT PORTRAITS OF FAMOUS AMERICANS 


ORIGINAL SPORTING PRINTS IN COLOR IP fb 


VIEWS AND PAINTINGS OF SAN FRANCISCO 
AND OTHER AMERICAN CITIES 


TO BE SOLD WITHOUT RESERVE OR PROTECTION 


ON WEDNESDAY, MAY 3rd, AND THURSDAY, MAY 4th, 1916 


AT THE HOUR OF 8:30 IN THE EVENINGS 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 


NOTE 


With the exception of about one hundred 
items the prints described in this catalogue 
consist of, or are from, various well known 
private collections. Most of the property has 
been consigned directly by the owners, who for 
various and sufficient reasons do not desire 
their identity disclosed, and some have come 
to the Association indirectly, dealers acting 
for their undisclosed principals. 

The quality of the prints offered is high, 
much is unusual, all is of merit, and none 
represents discard or culling. 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4, Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF OWNERS AND 
OTHERS HEREIN INTERESTED 


First Session, Numbers | to 


WEDNESDAY EVENING, MAY 3d, 


ANDERSON, STANLEY 


f= 1. A SURREY LANE. Painter-etching. 


O. W. P. and A. C. L. paper. 


- oe. 2. TWICKENHAM. Painter-etching. 


laid paper of a cream tint. 


146, inclusive 


ACT, 8230 O’ CLOCK 


Signed proof on 


Signed proof on thin 


» ape Sa 3. UNDER LONDON BRIDGE.  Painter-etching. Signed 
‘6 proof on thin laid paper. 
ARUNDEL SOCIETY PRINTS 
pt 4. TWO HEADS FROM THE FRESCO OF THE TRIBUTE 
ie MONEY in the Brancacci Chapel. 1861. Chromolitho- 
graphs. On one board. (2) 
5? 5. THE FALL after Filippo Lippi and THE EXPULSION 
i Rex after Masaccio. 1861; ST. PETER IN PRISON and 
ST. PETER DELIVERED FROM PRISON. = 1862. 
Chromolithographs. On two boards. (4) 


yo 6. TWO HEADS FROM THE FRESCO OF THE RAISING 
ees. OF PETRONILLA. 1862. Chromolithographs. (2) 


First Session, Wednesday Evening, May 3d 


ARUNDEL SOCIETY PRINTS. (Continued) 


0 


| 


/ 


7 


8 


. HEADS FROM THE FRESCOES OF S.S. PETER AND 
PAUL RAISING THE KING’S SON, and 8.8. PETER 
AND JOHN GIVING ALMS._ 1863. Chromolitho- 


graphs. (2) 


. 5.8. PETER AND JOHN healing the sick by their shadows, 
and S.S. PETER AND JOHN giving alms. From the 
Frescoes by Masaccio in the Brancacci Chapel of the 
Church of the Carmine at Florence. Chromolithographs. 
On one board. (2) 


BACHER, OTTO H. 1856—1909 
9. FERRY LANDING ON THE DANUBE. 1879. Painter- 


10 


11 


13 


etching. Signed proof with a dedication, on Van Gelder 
paper. Only six proofs taken and the plate destroyed; 
BLACK TREE, ROYAL GARDENS, SCHLEISS- 
HEIM. 1879. Painter-etching. Signed proof on India 
paper, with a dedication to his friend Albert Roullier. 


(2) 


. LUSTHEIM. 1879.  Painter-etching. Signed proof on 


Japanese paper. 


. OLD INN ON THE DANUBE. 1879.  Painter-etching. 
Signed proof on loose India paper. 


. WOODEN BRIDGE AT SCHLEISSHEIM.—BLACK 
TREE AT SCHLEISSHEIM. 1879. Painter-etchings. 
Signed proofs on Japanese paper. (2) 


. POPLARS, ROYAL GARDENS, SCHLEISSHEIM. Paint- 
er-etching. One of the first 25 impressions on loose India 
paper. Signed dedication proof to his friend Albert 
Roullier. 


Lk 


First Session, Wednesday Evening, May 3 


BARLOW, TH. OLDHAM 


ae 14. A. TENNYSON. Engraving in mixed manner after J. E. 
eee Millais. Artist’s proof on India paper, signed by both 
artists. In two and three quarter inch antique oak frame. 


BARTOLOZZI, FRANCESCO. 1728—1813 


15. JULY. Oval stipple-engraving. After W. Hamilton. Ori- 
ginal impression. London, 1789. Framed. 


C 


16. LADY CATHERINE BEAUCLERK. — Stipple-engraving. 
F. Cotes Pinx. Printed in red. Original impression. 


London, 1778. Oval. Framed. 


17. SHEPHERDESS OF THE ALPS—GRISELDA. Oval 
stipple-engravings. After Angelica Kauffmann. Scratch 


Oe 5 ce letter proofs, printed in brownish ink, with full margins. 


(2) 


BAUER, MARIUS A. J. 


18. AT THE GANGES. Painter-etching. Signed proof No. 24 
, 70 on etching paper. In three eighths inch ebonized wood 
V frame. 


19. HOLY CAMELS. Painter-etching. Signed proof No. 32 on 
Japanese paper. In one and one half inch ebonized wood 
1 O tke frame. 


BECKETT, ISAAC. 1653—1719 


20. ROBERT FIELDING. Mezzotint after Sir G. Kneller. 

Smith I. No. 35. Second state; before the name of the 

g? personage. In one and three-quarter inch cherry and 
bronze frame. 


First Session, Wednesday Evening, May 3d 


BOETTCHER, F. 
a2 21. SASKIA. Etching after Rembrandt. Signed remarque proof 


a 


he on Japanese paper. In three inch antique oak frame. 


BONE, MUIRHEAD 


22. FISHMARKET, VENICE. 1915. Original dry-point. 
~D Signed proof on Japanese paper. In one-half inch ebony 
frame. 


23. PICCADILLY CIRCUS. 1915. Original dry-point. Signed 
proof on Japanese paper. Edition limited to 120 im- 
c i pressions. Rarer. In one-half inch ebony frame. 


24. RAINY NIGHT IN ROME. Original dry-point. Signed 
proof on Japanese paper. In three-quarter inch ebony 
[5 — frame. 


BRACQUEMOND, FELIX. 1833— 


25. UN VIEUX COCQUE. 1882. Painter-etching. First pub- 
>o lished state. Signed proof No. 47. On Whatman paper, 


0 printed in bistre. VERy FINE. 
26. THE HARE—A MISTY MORNING.  Painter-etching. 
Proof on Whatman paper; L’INCONNU. Painter-etch- 
42 5 ing. Edition Cadart on aqua-fortiste paper. (2) 
/ — 
27. A FLOCK OF TEAL ALIGHTING.  Painter-etching. 
— Signed proof on loose India paper. VERY FINE. 
aes 
BURKE, THOMAS. 1749— 
28. ANGELICA AND SACRIPONTE—HENRY AND EMMA. 
Circular stipple-engravings. After Angelica Kauffmann. 
es Published by Boydell, 1792. Open LETTER, BRILLIANT 
Js PROOFS WITH FULL MARGINS. (2) 


(See Reproductions) 


BURKE (THOMAS) 
(See No. 28) 


First Session, Wednesday Evening, May 3d 


BURKE, THOMAS. (Continued) 
29. INIBACA DISCOVERING HERSELF TO TRENMON. 


eS Mezzotint. After Angelica Kauffmann. Proof before 
: title. Folio. 


CALLOT, JACQUES. 1592—1635 
4,0 30. LA VIE DE L?ENFANT PRODIGUE. Meaume 53-68. 


Fie = ihe Second state, with the inscription but before the numerals 
in the margin. In three-eighths inch ebony frame. 


CAMERON, DAVID YOUNG. 1865— 
$1. PAISLEY ABBY, North view. Rinder No. 1.—STANLEY 


pp Os CASTLE. Rinder No. 6—DISTANT VIEW OF 
te CROOKSTON CASTLE. Rinder No. 7. 1887. Painter- 
etchings. Proofs on etching paper. (3) 
: 50 32. BOTHWELL. 1889.  Painter-etching. Rinder No. 34. 
gee Signed proof on heavy Van Gelder paper. 
 -94 33. ALBERT, RAILWAY AND VICTORIA BRIDGES, 1889. 
{2 = Original etching. Rinder No. 35. Proof on Van Gelder 
paper. 


-_ 34. GLASGOW HARBOUR. 1889. Painter-etching. Rinder 


L/ ary No. 88. Signed proof on thin laid paper; printed by F. 
Goulding. 
5» 85. ARRAN. 1889. Painter-etching. Rinder No. 43. Proof 
ht a on Whatman paper. 

+ 86. AYR. 1889. Painter-etching. Rinder No. 47. Signed proof 

ks ate on thin laid paper, printed by F. Goulding. 
‘. 37. BENNAN. 1890. Painter-etching. Rinder No. 71. Signed 
25 nat proof on thin laid paper. Very rare. “About three impres- 


sions only.”—Rinder. 


MWe Ye 


First Session, Wednesday Evening, May 3d 


CAMERON, DAVID YOUNG. 
38. 


36 
72 


ou: 


40. 


41. 


42. 


43. 


44. 


45. 


46. 


(Continued ) 


THE ENGLISH (PROTESTANT) CEMETERY, ROME. 
1895. Painter-etching. Rinder. No. 186A. Proof on 
vellum paper. 3 


DRYBURGH. 1896. Painter-etching. Rinder No. 231. 


First state; before the additional work in dry-point. | 


Signed proof on thin Japanese paper. 


UNE COUR, RUE DU PETIT SALUT, ROUEN. 1896. 
Painter-etching. Rinder No. 233. Proof on Wrigley 


paper. 


THE CHAPEL AND FOUNDER’S TOMB, CHARTER- 
HOUSE. 1895. Rinder No. 240; THE TOWERS OF 
CHARTERHOUSE, GODALMING. 1895. Rinder No. 
243. Painter-etchings. Proofs on vellum paper. _— (2) 


A GENTLEMAN OF LEISURE. 1896. Rinder No. 247; 
APRIL IN THE HILLS. 1896. Rinder No. 
Painter-etchings. Proofs on etching paper. (2) 

MILESTONES. 1896. 
BAN) GREENERY. 


etchings. Proofs on etching paper. 


Rinder No. 249; UPLAND (UR- 
1896. Rinder No. 250. Painter- 


(2) 


AFTERNOON. 1896. Rinder No. 251; AD ASTRA. 1896. 
Rinder No. 252. Painter-etchings. Proofs on etching 


paper. (2) 


“YE BANKS AND BRAKES.” 1897.  Painter-etching. 
Rinder No. 279. Third state; with additional work in dry- 
point. Signed proof on soft Japanese paper. “Eight or 
nine impressions only.”-—Rinder. 


WATERLOO BRIDGE. 
No. 296. Trial proof. 
PossIBLY UNIQUE. 


1899. Painter-etching. Rinder 
Signed proof on laid paper. 


248. . 


\, 


if 


T| 


First Session, Wednesday Evening, May 3d 


CAMERON, DAVID YOUNG. (Continued) 


ar 47, OLD FARM, NORINGTON. 1902. Ruinder No. 331. Proof 
on vellum paper; NEAR DROXFORD. 1902. Rinder 
No. 332. Proof on Wrigley paper. Painter-etchings. 


(2) 


~ 950 48. WINCHESTER CATHEDRAL. 1902. Rinder No. 383. 
sae Proof on vellum paper; THE LEA, NEAR RYEHOUSE. 
1902. Rinder No. 334. Proof on Wrigley paper. Paint- 

er-etchings. (2) 


Y 


49. THE LEA, NEAR WARE. 1902. Rinder No. 335; DIS- 
oF as TANT VIEW OF WINCHESTER AND ST. CROSS. 
Rinder No. 336. Painter-etchings. Proofs on Wrigley 


paper. (2) 


-6? 50. THE ITCHEN NEAR WINCHESTER. 1902. Rinder 
Y No. 337. Proof on Wrigley paper; ON THE TEST. 
1902. Rinder No. 338. Proof on vellum paper. Painter- 

etchings. (2) 


ee. Ol. ALMSHOUSE, ST. CROSS. 1902. MRinder. No. 3889. 
Y Proof on Wrigley paper; THE DEANERY, WINCHES- 
TER. 1902. Rinder. No. 343. Proof on vellum paper. 

Painter-etchings. (2) 


»- 52. ALMSHOUSE, ST. CROSS. 1902. Painter-etching. Rin- 
der No. 339. Proof on vellum paper; ON THE BRAD- 
FORD. 1902. Painter-etching. R. No. 347. Proof on 
vellum paper. (2) 


A) 


3? 53. THE CHAPEL, HADDON HALL. 1902. Rinder No. 345. 
oO Proof on vellum paper; THE WINDINGS OF THE 
WYE, NEAR BAKEWELL. 1902. Rinder No. 346. 

Proof on Wrigley paper. Painter-etchings. (2) 


54. ON THE BRADFORD. 1902. Rinder No. 347. Proof on 
GQ =_ Vellum paper; DOVEDALE. 1902. Rinder No. 348. 
Proof on Wrigley paper. Painter-etchings. (2) 


First Session, Wednesday Evening, May 3d 


CAMERON, DAVID YOUNG. 
55. 


a2 
cee 


56. 


58. 


60. 


61. 


62. 


. AN EGYPTIAN MIRROR. 


(Continued ) 


THE VALLEY OF THE LATHKILL. 1902. Ruinder No. 
349; ON THE WYE AT HADDON. 1902. Rinder No. 
350. Painter-etchings. Proofs on Wrigley paper. (2) 


BERWICK-ON-TWEED. 1906. Painter-etching. Rinder 
No. 882. Fourth state; the reflection of the fore-sail of 
near boat is lengthened to 20 mm. Signed proof on Dutch 
paper. 


. KING’S CHAPEL. 1909. Painter-etching. Rinder No. 405. 


Second state; with the additional work on the tree, etc. 
Proof No. 25. on thin Japanese paper. 


MY LITTLE LADY OF LUXOR. 1909. Painter-etching. 
Rinder No. 407. Fifth state; the plate is finished. With 
the dry-point lines within the lower left of mirror disc. 


Signed proof. 


1909. Painter-etching. Rin- 
der No. 408. Second state, the plate is finished. Front 
of pedestal is completely shaded. Signed proof on old 
laid paper. | 


YVON. 1909. Painter-etching. Rinder No. 425. Third 
(finished) state; the shadows are toned down and a 
bracket is projecting at the corner of the house to the 
left. Signed proof on thin Japanese paper. 


A CAT OF BUBASTIS. 1909. Painter-etching. Ruinder 
No. 426. Signed proof on old laid paper. 


THE LION AND THE UNICORN. 1911. Painter-etching. 
Rinder No. 427. Fifth (finished) state; the plate is re- 
duced to its proper shape and measures now 156: 110 mm. 
The wall behind the unicorn is clear with the exception of 
two deep shadows. Signed proof on thin Japanese paper 
laid down on handmade paper. Inserted as frontispiece 
to No. 179 of the Edition de Luxe of Frank Rinder’s illus- 
trated catalogue of the works of D. Y. Cameron. Edition 
limited to 200 copies. 


my 


We Yt 


First Session, Wednesday Evening, May 3d 


CAMERON, DAVID YOUNG. 
jb 68. KARRERA. No. 2. 


(Continued ) 


Original dry-point. Not in Rinder’s 


ee eae Catalogue. Signed proof on old thin paper. 
yo G4. CARSELANDS.  Painter-etching finished with dry-point. 
nS eel Not in Rinder’s Catalogue. Signed proof on old laid 
paper. 
y 65. LOCH EN DARB. Painter-etching. Not in Rinder’s Cata- 
,/ = logue. Signed proof on thin laid paper. 
66. LOCHAN. Painter-etching finished with dry-point. Not in 
Va a dt as Rinder’s Catalogue. Signed proof on old laid paper. 
O/ FINE. 
67. APPIN ROCKS. Original dry-point. Not in Rinder’s Cata- 
SO be! logue. Signed proof on old laid paper watermarked. “C. 
1812”. VERY FINE. 
-~ so 68. KINCARDINE. 1914. Original dry-point. Signed proof 
SS ae on thin laid paper. Very Fine. In one-half inch ebony 
frame. 
,,a2 69. AMSTERDAM. 1915. Painter-etching. Signed proof on 
/JSd— thin laid paper. In five-eighths inch ebony frame. 
CHANDLER, G. WALTER 
nore “0. RUE KLEBER, ALGIERS. Signed proof No. 5, on laid 
J=— paper. Edition limited to 60 impressions. In one-half 
inch mahogany frame. 
CHINESE DRAWINGS 
“1. EMPEROR AND EMPRESS AND THREE OTHERS. 
ES. S Hated Old Chinese water-color drawings on rice paper. Framed. 


(5) 


In Yr 


r, Vi oe ir 


JS flasn~ev 


YS 


First Session, Wednesday Evening, May 3d 


CHURCH, F. S. 


72. A SYMPHONY—NINETEENTH CENTURY. Painter- 
etching. Signed proof printed in sepia on thin Japanese 


paper. 
COLOR PRINTS 
73. LA REPONSE AU MESSAGE. Line and stipple-engraving. 
PD After Coeure. Small folio. Printed in color. Shows a 
Be sportsman placing love-letter in cavity of tree. Circa 
1800. Framed. 
74. LPAMERIQUE — L’EUROPE — L’ASIE — L’AFRIQUE. 
» Stipple-engravings. Dessiné par Vauther—terminé par 
aos Bertrand. Printed in colors. (4) 
75. MAISON DE PECHEURS A SCHERZLIGEN PRES DE 
72 THOUNE. Aquatint. Small folio, Swiss scene. Printed 
> in colors. Framed. | 


COOPER, R. 1730—1820 


re 76. LADY RUSSELL MANNERS.  Stipple-engraving. Small 
= folio proof impression. Published by Edw. Orme. 1807. 
With margins. 


CORMACK, M. 


77. MILK MAID AND THE SHEPHERD. Mezzotint. After 
ie George Morland. Printed in colors. Signed artist’s 
proof. Folio. 


= 


\ 


COURTRY, CHARLES 
78. POPE LEO XIII. Etching after Chartran. Remarque proof 


L— on vellum, signed by both artists. 


First Session, Wednesday Evening, May 3d 


DE LA RUE, GEORGE 


79. DRIVING HOME THE COWS. Aquatint etching. After 
/0 LY J.S. Bukhuysen. Printed in colors. No. 3 of 100 signed 
artist’s proofs. 


DELATRE, EUGENE 


80. AT THE THEATRE—AT THE COMEDY. Original 
we do etchings. Signed artist’s proofs, printed in color and 
= issued in very limited numbers. (2) 


DREVET, PIERRE 


81. LOUIS XIV., KING OF FRANCE.  Line-engraving after 

H. Rigaud. 1704. A. Didot No. 53. Fourth state. Very 

+ closely trimmed. In three inch antique oak and bronze 
frame. 


DRIAN, ETIENNE 


82. GIRL WITH RAISED SKIRT. Original dry-point. Signed 

-pod proof No. 129 printed in colors; on Whatman paper. 

oe Edition limited to 150 impressions. In one inch bronzed 
wood frame. 


A 


83. KEEPSAKE. Original dry-point. Signed proof No. 78 

printed in colors; on Whatman paper. Edition limited to 

Jd 100 impressions and completely sold. Very rare. In one 
inch bronzed wood frame. 


DURER, ALBRECHT. 1471—1528 


84. THE PRESENTATION IN THE TEMPLE; from the 
Ld “Life of the Virgin”. Woodcut. Bartsch No. 88. Early 
/ aa impression before the text on the back; on paper with the 
Bull’s head watermark. From the W. Bell Scott Collec- 
tion. In one-half inch ebonized wood and gilt frame. 


First Session, Wednesday Evening, May 3d 


EDWARDS, 8S. ARLENT 


=o 


Ys — 


/ 0 


85. FRANCIS II. Mezzotint. Butler, No. 69. After Francois 


Cluet. Signed proof, printed in colors. Frnr mPpREssion 
WITH FULL MARGINS. 


. MARTIN VAN NIEUWENHOVE. Mezzotint. Butler, No. 


72. After Hans Memling. Signed proof, printed in col- 
ors. Framed. 


. LADY DUDGEON. Mezzotint. Butler, No. 77. After 


Thomas Gainsborough. Signed proof, printed in colors. 


. BIANCA MARIA SFORZA. Mezzotint. Butler, No. 79. 


After A. di Predis. Signed proof, printed in colors. With 


margins. 


. THE DUCHESS OF DEVONSHIRE AND CHILD. Mezzo- 


tint after Sir Joshua Reynolds. Signed remarque proof 
on rice paper. Colored. Sketched on a cardboard and 


matted. 


FARRELL, FRED A. 


3° 


pores 


90. LOWER ARGYLLSHIRE. Painter-etching and dry-point. 


Signed proof on thin, soft Japanese paper. Edition lim- 
ited to 100 impressions and the plate destroyed. 


FITTON, HEDLEY. 1859— 


91. RUE BARBETTE, PARIS. 1909. Painter-etching. Signed 


proof on Head paper. Im seven-eighths inch ebonized 
wood frame. 


92. ADVOCATE’S CLOSE, EDINBURGH. Etching. Signed 


artist’s proof. 


93. CATHEDRAL OF ST. MACLOU, ROUEN. Etching. 


Signed artist’s proof. 


First Session, Wednesday Evening, May 3d 


GREEN, F. 
94. GYPSIES STEALING A CHILD. Mezzotint. Painted by 
Do” H. Singleton. Large folio. BriLiiaANT IMPRESSION, WITH 


J 2 FULL MARGINS. 
GREENHEAD, H. T. 


95. MARGOT. Mezzotint. Girl’s head after a drawing by George 
Fe ices Morland. Signed proof, printed in colors. Folio. 
| Framed. 


96. PEGGY. Mezzotint. Girl’s head after a drawing by George 


£0 Morland. Signed proof, printed in colors. Folio. 
7 ee Framed. 
5 27. SALLY—BARBARA. Mezzotints. After George Morland. 
AS Oem Signed artist’s proofs, printed in colors. (2) 


HADEN, SIR FRANCIS SEYMOUR. 1818—1910 


98. WHISTLER’S HOUSE, OLD CHELSEA. 18638. Painter- 

50 etching. Harrington 54. Second state, signed proof on 

o Core. a very white laid paper. In one-half inch ebonized wood 
frame. 


99. TWICKENHAM CHURCH. Painter-etching. Harrington 
107. First state. Proof on heavy English paper. Printed 
by F. Goulding. From the F. Goulding Collection. In 

7 / — one-half inch ebony frame. 


100. THE THREE SISTERS. 1868. Painter-etching. Har- 
rington 129. Second state. Signed proof on laid paper. 
-oP In one-half inch ebonized wood frame. 


101. THREE-TREE FARM. Painter-etching. Harrington No. 
206. The only state. Signed proof on laid paper. “‘Im- 
promptu Sketch to illustrate a lecture on the continuous 
method of etching.”—Harrington. In three-eighths ebon- 
ized wood and gilt frame. 


HAIG, 
102. 
; 6 
lg! 
108. 
—_ & S 
104. 
o—_ 69 
'Y) —_— 
105. 
/ - — 
106. 
Fo) 2) 
/0 
107 
25 
A 
,/wuv 
108. 
/ -p9O 
Aceon 
109. 
Ww J? 
Vion 
110. 
f 


First Session, Wednesday Evening, May 3d 


AXEL HERMAN 


LINLITHGOW PALACE, EAST SIDE OF COURT. 1878. 
Original-etching. Signed proof on etching paper. 


THE TOWER OF ST. PIERRE AT CAEN, from the Lan- 
tern of the Hotel De Valois. 1879. Original etching. 
Signed proof on Whatman paper. Edition limited to 100 
impressions. Rare. 


DOOR TO CLOISTERS, JEDBURGH ABBEY. 1879. 
Original etching. Signed proof on India paper. Edition 
limited to 50 impressions. Rare. 


A SWEDISH PULPIT. 1881. Original etching. Signed 


proof on Whatman paper. 


DARWIN’S STUDY AT DAWN NEAR ORPINGTON. 
1882. Original etching. Signed proof on vellum paper. 
Edition limited to 250 impressions. In one and three- 
quarter inch antique oak and bronze frame. 


. DARWIN’S STUDY AT DAWN NEAR ORPINGTON. 


1882. Original etching. Signed proof on vellum paper. 
Edition limited to 250 impressions. 


A STREET IN SEVILLE. 1888. Original etching. Signed 
proof on Whatman paper. Edition limited to 300 im- 
pressions. VERY RARE, 


THE FOUNTAIN OF ST. GEORGE, LUBECK. 1885. 
Original etching. Signed proof on Whatman paper. Edi- 
tion limited to 100 impressions. VERY RARE. 


ON THE REGENT’S CANAL. 1887. Original etching. 
Signed proof on Wrigley paper. In three-quarter inch 
gilt frame. 


First Session, Wednesday Evening, May 3d 


HAIG, AXEL HERMAN. (Continued) 
111. RETURNING FROM THE FAIR, PAMPELUNA. 1887. 
=e Original etching. Signed proof on Wrigley paper. The 
Go ‘ies plate is destroyed. In four and one-quarter inch Eng- 
lish oak and bronze frame. 
112. THE CLOISTERS OF ST. JEROME, BELEM. 1906. 
Original etching. Signed proof on O. W. P. and A. C. L. 
7 Ae paper. In three inch English oak and gilt frame. 
ait’: 
113. NORTH CHANCEL AISLES, AMIENS CATHEDRAL. 
a 1908. Original etching. Signed proof on O. W. P. and 
42 a A. C. L. paper. In two inch sealbrown pressed maple 
a frame. 
114. S. ANASTASIA. VERONA. 1908. Original etching. Signed 
proof on O. W. P. and A. C. L. paper. In two inch pressed 
g y °° maple frame. 
115. SALAMANCA. 1909. Original etching. Signed proof on 
a) oy O. W. P. and A. C. L. paper. Limited to 200 impressions. 
é 
e318. SCHLOSS ZWINGENBURG ON THE NECKAR. Original 
| oe etching, aquatinted. Signed proof on Whatman paper. 


ST o > 


/ ya 


Limited to 250 impressions and the plate destroyed. 
Mounted and matted. 


Proof on vellum 


117. NUREMBERG. Original-etching No. 4. 
paper. 


1174. CHATEAU DE VITRY. 


pression with margins. 


Signed artist’s proof. Good im- 


HERKOMER, HUBERT 


ae of 


118. A. TENNYSON. Original etching. Signed proof on Dutch 
paper. 


frame. 


In three and one-half inch mahogany and bronze 


First Session, Wednesday Evening, May 3d 


ICART, LOUIS 


119. LE PAPILLON. Original dry-point. Signed proof No. 8, 
printed in colors on Whatman paper. Edition limited to 


-— 90 
49 — 75 impressions. In one-half inch bronzed wood frame. 
120. COURSING. Original dry-point. Signed proof, printed in 
colors on Whatman paper. In one-half inch bronzed 
a6 ae wood frame. 


ISRAELS, JOZEF 


121. BLIND MAN WALKING. Painter-etching. Signed artist’s ucdiy 
7 ee proof on Dutch paper. In one-half inch ebony frame. 


JACQUEMART, JULES 


122. CLOISONNE VASE. Etching. Proof on thin Japanese 
+ SS 4 paper. 


\ 123. RELIQUAIRE OF THE XV. CENTURY. 1865. Etching. 
Proof on aqua-fortiste paper. With Delatre’s certifica- 
tion. 


JAMES, CLIFFORD R. 


124. THE MONTGOMERY SISTERS. Mezzotint. After Sir 


24 So Joshua Reynolds, printed in colors. Signed artist’s proof. 
J 


JAMES, GEORGE P. 


125. COUNTESS SPENCER AND CHILD. Mezzotint. After 
Reynolds. Signed artist’s proof, printed in colors. 
// p° Framed. 


First Session, Wednesday Evening, May 3d 


KOEPPING, —— 
126. LE CONNETABLE DE BOURBON. Etching after Rem- 
S) ted brandt. Proof on Japanese paper. In three and one- 


half inch mahogany and bronze frame. 


LAURIE, ROBERT 


ss 127. MRS. BADDELY. Mezzotint after Zoffany. Smith II. No. 
~ eo 5. Second state. In one and three-quarter inch cherry 
and bronze frame. 


LEARNED, A. G. 


90 128. BUST OF A GIRL. Painter-etching. Signed proof No. 46. 
a on laid paper. In one-half inch gilt wood frame. 


LEFORT, HENRI 


129. BENJAMIN FRANKLIN. Etching after Duplessis. Grolier 
Club Publication of 1898. Proof on vellum paper. In 
three inch dark English oak frame. 


Ae Be 
LEGROS, ALPHONSE 


hy 180. PORTRAITS OF DALON, THE SCULPTOR AND E. J. 


7 — POYNTER. Proofs on Van Gelder paper. (2) 
131. LISIERE DE BOIS. 306. Dry-point. First state, only 24 
=00 proofs in this state. BrAuTIFUL IMPRESSION WITH MUCH 
I ieee BuRR. In three-quarter inch ebony frame. 


LEPERE, AUGUSTE 


132. LE BOUT-GENET. Painter-ctching. Signed proof No. 9, 
s2 on laid paper. Edition limited to 50 impressions and 
8 mee the plate destroyed. In one-half inch ebony frame. 


)[usdis 


First Session, Wednesday Evening, May 3d 


LEPIC, LE COMTE L. 
133. LE VERGER DU ROI LOUIS, (BALLADE DE GRIN- 


° ) GOIRE). 1869. Painter-etching. Signed proof on thin 
-~n— ) Japanese paper. In one-half inch ebony frame. 

1384. PRESIDENT ARBOIS. 1875. Painter-etching. Signed 
proof on thin Japanese paper. In one-half inch ebony 
frame. 

6 135. “CE QUI RESTAIT DU PUISSANT GUILLAUME DE 
/ = NAILLAC.”  Painter-etching. Signed proof on thin 


Japanese paper. In one-half inch ebony frame. 


LEVY, WILLIAM AUERBACH 


136. THE PATRIARCH’S PRAYER. 1914. Painter-etching. 


kes Signed proof on Japanese paper. Edition limited to 50 
ste impressions. In one-half inch ebonized wood frame. 
\ 
137. THE SCRIBE. 1915. Painter-etching. Signed proof on 
/3 of Japanese paper, printed by the artist. 
138. THE EXILE. Painter-etching. Signed proof on Japanese 
es paper. Edition limited to 50 impressions. In one-half 
56 oo inch ebonized wood frame. a 
7D 139. “CECCO.” Original dry-point. Signed proof on Japanese 
56 tty paper. Edition limited to 50 impressions. In one-half 
inch ebonized wood frame. 
LOMBART, PIERRE. 1648—1681 
140. ENGLISH COURT-BEAUTIES.  Line-engravings after 
Jp? Anthonie Van Dyck. Andresen II. p. 73. No. 10. In 
Bee one and one-half inch antique oak and gilt frames. (11) 


First Session, Wednesday Evening, May 3d 


LOUIS, ARISTIDE 


141. NAPOLEON I. (Caiiep “wirH THE SNurFrF pox’). 1841, 
Line-engraving after Paul Delaroche. Proof before letters 
on India paper; the latter remounted. 


LUCAS, ALFRED 


142. THE LANE—THE LOCK ON THE STOUR. After John 
Constable. Proofs on India paper, signed by the engraver. 
Published London, 1881. From the Cope Collection. (2) 


LUMSDEN, ERNEST S. 


iz) 
/ LS) 
Yay oo 


143. THE EMPTY CANAL. Painter-etching. Signed proof on 
thin Japanese paper; the etcher’s own printing. In three- 
eighths inch ebonized wood frame. 


144. UDEYPORE, MORNING. Painter-etching. Signed proof 
on thin Japanese paper. The etcher’s own printing. In 
one-half inch sealbrown maple frame. 


145. CHIEN-MEN, FROM WITHOUT. Painter-etching. Signed 
proof on thin Japanese paper. The etcher’s own print- 
ing. In one-half inch ebonized wood frame. 


146. PEKING SHOPS. Painter-etching. Signed proof on thin 


Japanese paper. The etcher’s own printing. 


WW 


a 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF OWNERS AND 
OTHERS HEREIN INTERESTED 


Second Session, Numbers 147 to 286, inclusive 


THURSDAY EVENING), MAY 4th, AT 8:30 O’CLOCK 


MARSHALL, WILLIAM 


= ia 147, ABRAHAM LINCOLN. Line-engraving after the engraver’s 
ae, own painting. Proof on plate paper. 


MARTINDALE, PERCY H. 


Ho 148. YOUTH. Mezzotint printed in colors after A. Bellet. Proof 
he o's Be on India paper, signed by both artists; the engraver’s 
own printing. From the first hundred. Edition limited 

to 250 impressions and the plate destroyed. 


MASSON, ANTOINE. 1636—1700 


? 149. MARIE DE LORRAINE, DUCHESSE DE GUISE, PRIN- 
Se CESSE DE JOINVILLE. Line-engraving after Pierre 
Mignard. 1684. Robert-Dumesnil II. No. 82. Third 
state; before the rabbit. With large margin. In one and 

one-half inch antique oak frame. 


MENPES, MORTIMER 


150. THE MOORISH ARCH, TOLEDO. Painter-etching. 

Signed proof on thin laid paper; the etcher’s own printing. 

AS oa Edition limited to 50 impressions. In five-eighths inch 
ebonized wood frame. 


Oo 
= | 


Second Session, Thursday Evening, May 4th 


MENPES, MORTIMER. — (Continued) 
30 151. AT DELHI. Painter-etching. Signed proof on Japanese 
7 — paper; the etcher’s own printing. In five-eighths inch 
ebony and gilt frame. 


MERYON, CHARLES 


152. LA POMPE DE NOTRE-DAME, PARIS. Painter-etching. 

i) Delteil 31. Seventh state. The title and “Rue St. Etienne- 
bog” du-Mont. Publié par l’Artiste,” suppressed. Fine im- 
pression on Dutch paper. In one-half inch ebony frame. 


MILLAR, FRED. 


153. THE WHEATFIELD. Mezzotinted etching printed in colors 
nk after Vignoles Fisher. Signed proof No. 149, on India 
a, paper. 


1584. LORNA DOONE. Mezzotint after W. Wontner. Proof on 


Par vellum paper, signed by both artists. Edition limited to 
/ 200 artists’ proofs. In two inch antique oak and gilt 
frame. 


MOHN, ERNST 
30 154. A SPANISH NOBLEMAN.  Line-engraving after Diego 


ie Velasquez da Silva. In three inch antique oak and bronze 
frame. 


MORLAND, GEORGE. 1764—1804 


155. COTTAGERS IN WINTER.  Stipple-engraving. By 
a6 Thomas Williamson. About 1800. Large folio. Early 
open letter impression unusually well printed in colors. 


Ake 


e 


oe 


LS ly : 


ca 


ib 
Les t 
Keugii dittdad MMe ey ala id et 


a tale 


ad 


fi 


pe 


ape A Ae 
( Whew uke CREE LP MEERA LE 


Yokhibed March $0 1786 byt Darasd Cavwrow Steet Stand 


MORLAND (GEORGE) 
(See No. 157) 


ee phe eo 
Mey hifail, oh sagt he tdiig Tibet, Mevud, 

Co 4 y 
a tipo tig thal Se © y 


€ 
ERED De 


diy Peg LE f 


Second Session, Thursday Evening, May 4th 


MORLAND, GEORGE. (Continued) 
156. SHEEP. Mezzotint. Engraved by E. Bell. Painted by G. 


=~ 
ge costes 


L0 


C 


a 
SI 
\ 


Morland. Printed in colors. 1798. Folio. Margins 
have been cut close but show part of inscription of artists’ 
names. An early original impression. A VERY FINE AND 
PURE QUALITY OF COLOR PRINT. Framed. 


157. SUSAN’S FAREWELL. Stipple-engraving. By Knight. 


Circular. Folio. Published March, 1786. Beautiful 

open letter impression, delicately printed in red. In two 

places small holes have been filled in. Very rare. Framed. 
(See Reproduction) 


NANTEUIL, ROBERT. 1623—1679 
158. PHILIBERT EMMANUEL DE BEAUMANOIR DE LA- 


239 


159 


160 


161 


162 


VARDIN.  Line-engraving from Life. 1660. Robert- 
Dumesnil IV. No. 35. First state. In one and one-half 
inch antique oak frame. 


. JACQUES, MARQUIS LE CASTELNAU, ~Marshal of 


France. lLine-engraving from Life. 1658. Robert- 
Dumesnil IV. No. 58. Only this state known. In one and 
one-half inch antique oak frame. 


. HUGUES DE LIONNE, SECRETARY OF STATE. Line- 


engraving from Life. 1655. Robert-Dumesnil IV. No. 
146. First state. In one and one-half inch antique oak 
frame. 


. LOUIS XIV., KING OF FRANCE. Line-engraving from 


Life. 1662. Robert-Dumesnil IV. No. 153. First state. 
In one and one-half inch antique oak frame. 


. MARIE JEANNE BAPTISTE DE SAVOIE-NEMOURS, 


DUCHESSE DE SAVOIE. Line-engraving after Laurent 
de Sour. 1678. Robert-Dumesnil IV. No. 169. First 
state. Very rare. In one and one-half inch antique oak 
frame. 


Second Session, Thursday Evening, May 4th 


NANTEUIL, ROBERT. (Continued) 


163. JULES MAZARIN, CARDINAL AND MINISTER OF 

arg 2° STATE. Line-engraving after Pierre Mignard. 1661. 

Av Robert-Dumesnil IV... No. 187. First state. In one and 
one-half inch antique oak frame. 


164. NICOLAS POTIER DE NOVION, First President of Par- 
liament, Paris. Line-engraving from Life. 1664. Rob- 
0° ert-Dumesnil IV. No. 207. Second state; with small mar- 


[Oa gin. In one and one-half inch antique oak frame. 
165. HARDOUIN DE PEREFIXE DE BEAUMONT, Arch- 3 
bishop of Paris.  Line-engraving from Life. 1665. 
> Robert-Dumesnil IV. No. 214. First state, with quite 
/ 7 ee some margin. In one and one-half inch antique oak frame. 
166. ARMAND PAUL DU PLESSIS, CARDINAL, DUC DE 
RICHELIEU. Line-engraving after Philippe de Cham- 
ae paigne. 1657. Robert-Dumesnil IV. No. 218. Second 
LS ae state. In one and one-half inch antique oak frame. 
167. DENIS TALON, President of Parliament, Paris. Line-en- 
graving. About 1656. Robert-Dumesnil IV. No. 228. S ak 
Ps) Only this state known. In one and one-half inch an- 
[Ses tique oak frame. 


NORMAN, H. : 
168. MRS. CROUCH. Mezzotint. After Romney. Signed artist’s 


Do proof, printed in colors. 
_— ‘ 


dig. 


OSBORNE, MALCOLM 
169. MAGGIE. 1905. Painter-etching. Signed proof on pha tess, py Ss 


eras ese paper. In five-eighths inch bronzed wood frame. 


SIR JEFFERY AMHERST 
(See No. 178) 


‘¥ 


” 


fi 


Second Session, Thursday Evening, May 4th 


PARRISH, STEPHEN 


170. FISHERMEN’S HOUSES, CAPE ANN. Painter-etching. 
- Plate No. 49. Signed proof on vellum paper. Laid down 


5 
/0 and matted. 
170a. A GLOUCESTER WHARF. Painter-etching. Signed 
proof on vellum paper. In two and one-half inch antique 
ois oak and bronze frame. 


PENNELL, JOSEPH. 1858— 


171. LITHOGRAPHS OF NEW YORK. Set of signed artist’s 
proof. Published by the Iconophiles. 

Battery Park—Broadway from Bowling Green—“Broad- 
oF way ‘Towers”’—-The Stock Exchange—Nassau Street— 
Pine Street—William Street—“Building the Building”— 
“The Flat Iron”—Union Square—Broadway above 28rd 
Street—The Times Building. (12) 


PHILLIPS, L. B. 


: 172. IN THE HARBOR. Original etching. Signed proof on 
oo —— Whatman paper. Limited to 175 impressions and the 
plate destroyed. 


PHOTOGRAVURE PORTRAIT 
173. LADY CORNWALL. After Thomas Gainsborough. Proof 


e aes on Satin. In three inch mahogany and bronze frame. 


PLATT, CHARLES A. 
> po 174. ON THE CONNECTICUT RIVER. 1885. Original etch- 


ort ing. Signed proof on vellum paper. 


175. PORTLAND, ON THE ST. JOHN’S RIVER.  Painter- 
9d etching. Signed proof on Japanese paper, laid down and 
oo matted. 


Second Session, Thursday Evening, May 4th 


PORTRAITS OF AMERICAN INTEREST 


176. HIS EXCELLENCY JOHN ADAMS, President of the 

United States of America. Stipple-engraving. Drawn 

ig dD? and Engraved by H. Houston. Folio. With full mar- 
LA A gins. FINE ORIGINAL IMPRESSION. 


177. AMERICAN INDIAN: On-Nee-Yeath-Tow-no-Riow. Mezzo- 

tint. John Faber fecit et Excudit. 1710. One of the 

ae very rare prints of the New York Indians who went to 
fifi England in 1710. 


178. SIR JEFFERY AMHERST. Mezzotint. J. Reynolds 
pinxt. .J. Watson fecit. Folio. Brittianr mprEssion, 
py Oe WITH FULL MARGINS. 


° 7? (See Reproduction) 


179. ISAAC BARRE. Mezzotint. After H. D. Hamilton. En- 
graved by Richard Houston. First State. Chaloner 


14 5 2 Smith. Vol. 2, No. 5. Served under Wolfe at Quebec. 
LAG. 
180. MARQUIS CORNWALLIS. Mezzotint. Painted by Sir 
W. Beechey. Engraved by J. Ward. Full length in robes. 
, 5? Large folio. Good impression, with margins. Contains 
hae ae a slight crease. 
181. B. FRANKLIN OF PHILADELPHIA. Mezzotint. M. 
Chamberlin pinxt. E. Fisher fecit. Folio. Original 
|i pit oe impression. 
bo — 


182. GENERAL GREENE. Mezzotint. Peale Dixerit Phila- 
delphia. Stothard Delin Londini. V. Green fecit ete. 
-0? Open letter proof impression. Has been repaired in sevy- 


ba eral places. RicH impression. Framed. 
183. THOMAS JEFFERSON. Aquatint printed in colors. De- 
signed by Tadee Kosciuszko et Grave par M. Sokolmicki. 
D Oval. Slight margins. AN EXTREMELY RARE AND VALU- 
og fo ABLE PRINT. Framed. 


(See Reproduction) 


oc emer mare nes cere 


183) 


THOMAS JEFFERSON 
(See No. 


| 


Second Session, Thursday Evening, May 4th 


PORTRAITS OF AMERICAN INTEREST. (Continued) 


184. JAMES MADISON, President of the United States. Stipple 
19 00 engraving. Engraved by D. Edwin. Full length stand- 
Ns 5 ing. Large folio. Original impression. Rare. 


185. LIEUTENANT GENERAL THOMAS MUSGRAVE,— 
with a view of Mr. Chew’s House near Germantown, 1777. 
— Line-engraving. §S. Abbot pinx. B. F. Facius sc. Rich 


impression with good margins. 


186. SIR PETER PARKER BARONET, Admiral and Commander 
in Chief of his Majesties’ Fleet, 1799. Mezzotint. Painted 


> ed by L. F. Abbott. Engraved by Valentine Green. Large 
/ folio. Fine IMPRESSION WITH MARGIN. 
(See Reproduction) 


187. SIR RICHARD PEARSON. Mezzotint. After Grignon. 
~~ 00 Engraved by James Watson. Proof before letters. Top 


and side margins cut. 


187s. JOHN PAUL JONES, Commander of a Squadron in the 
Service of the Thirteen United States of North America. 
,700 1779. Mezzotint. Three quarter length in uniform with 


/ (ie cocked hat, head to right, with spy-glass in right hand, 
left hand resting on anchor. [ Brookshaw, Fecit.| Fine 
IMPRESSION WITH WIDE MARGIN. VERY RARE. 
188. ISRAEL PUTNAM ESQ., Major General of the Connecticut 
Forces and Commander of Engagement on Bunckers Hill 
pf 0? : : : 
/t — near Boston. Foreign line engraving. Rare. 


189. CAPTN SCHANK, ROYAL NAVY. Mezzotint. By C. Tur- 
ner after J. J. Masqyerier. Pub. Oct. 19, 1799. A rich 
2° impression, slight margins & mounted. INTERESTING POR- 
raf a Trait. Schank was the inventor of the centreboard and 
was second in command of the British fleet on Lake 
Champlain. 


Ui F 


Second Session, Thursday Evening, May 4th 


PORTRAITS OF AMERICAN INTEREST. (Continued) 
190. GENL. JAMES STUART. Mezzotint. Painted by George 


[tees 


Romney. Engraved by C. H. Hodges. Stuart served in 
America during the Revolutionary war. Bri1iant IM- 
PRESSION IN FIRST STATE. 


191. GEORGE WASHINGTON, President: of thes Wnitelmet anes 


-o 0D 
3 ee 


of America, from the Original Portrait painted at the 
request of the Corporation of the University of Cam- 
bridge in Massachusetts. Mezzotint. Baker, 119. Hart, 
229. Folio. Framed. 


192. GEORGE WASHINGTON. Mezzotint. Portrait engraved 


in 
[/9 


by Edwards Savage. Whole length standing, full front, 
head to left. Height 27, Sub height 26.6, Width 20.5. 
Hart, No. 293. Full margins, slightly marred, by old 
glass mat. SuPERB OPEN LETTER PROOF IMPRESSION, VERY 
RARE, 

(See Frontispiece ) 


193. SOCIETY OF THE CINCINNATI. Original Certificate of 


Membership of Hoylsteed Hucker, a Captain of the late 
Navy. On vellum, bearing autograph signatures of 
Grorcrk WasHIncton AND Henry Kwox, 1792. Such 
certificates are necessarily rare, and one of a naval officer 
especially so, the United States Navy at that period not 
being very extensive. Framed. 


194. B. WEST. Mezzotint. W. Laurenson Pinxt. Wm. Pether 


Fecit. Large folio. A spPLENDID IMPRESSION. From the 
Hampton Carson Collection. 7 


195. DEATH OF GENERAL WOLFE AT QUEBEC. Mezzo- 


/¥° 


tint. Printed for R. Sayer and J. Bennet. London, Oct. 
1779. Small folio. Good impression. 


i 
‘ 
i 
% 


pao oe i took Mego Oo om ane 


ee 


SIR PETER PARKER 
(See No. 186) 


Second Session, Thursday Evening, May 4th 


PORTRAITS OF LEGAL CELEBRITIES AND 
OTHERS 


196. FRANCIS HAGRAVE, Famous Lawyer. Mezzotint. Painted 
by Sir Joshua Reynolds. Engraved by John Jones. First 
state. C. S. Vol. 2, No. 38. Margins trimmed. Brit- 


LIANT IMPRESSION. 


a 197. C. PRATT, LORD CAMDEN. Line-engraving by S. F. 


, — Ravenet. J. Reynolds pinxt. Folio. Boydell, 1766. 
BriLLIANT EARLY IMPRESSION. 


198. SR. THOMAS REEVE, Lord Chief Justice. Line-engraving. 
7 cane By B. Baron. Good impression with margins. Folio. 


199. JOHN WAINWRIGHT. Mezzotint. James Lathem Pincit. 
22 Engraved by John Brooks. Chaloner Smith, Vol. 1. No. 


32. Published by J. Bowles, May Ye 12th, 1742. First 

state of three, only two copies in this state known to Smith. 

200. JEAN BART. Stipple-engraving. Peint par Rigaud. Exe- 

y, ae cute par le Chevalier Bernarch. Paris 1824. Printed in 
w/ 


colors. Rare portrait of this French Admiral. 


201. MR. KEMBLE AS “KING RICHARD THE THIRD.” 
ia 90 Stipple-engraving by F. Bartolozzi. After W. Hamilton. 


Large folio, printed in brown. SPLENDID IMPRESSION. 


202. SHAKESPEAR. Mezzotint. Engraved by G. F. Storm 


2? from an Original Picture in the Possession of C. N. King- 
/0 a. ston. Published London, 1847. A very RARE AND HIGHLY 
ESTEEMED PORTRAIT. 


RAJON, PAUL 


203. CARDINAL NEWMAN. Etching after W. W. Ouless. 
Artist’s proof on vellum. Signed by both artists and by 


3 3 a? the Cardinal. In two and one-quarter inch antique oak 
frame. 


Second Session, Thursday Evening, May 4th 


REED, EARL H. 


; 
/ 


204. A SHIP OF DREAMS. Painter-etching. Signed pee No. 


2. on vellum paper. 


205. THE TROOPERS OF THE SKY. Painter-etching. Signed 


proof on vellum paper, one of the first two impressions. 


\.206. THE COURSE OF TRUE LOVE. Painter-etching. Signed 


proof on Van Gelder paper. 


REMBRANDT VAN RYN. 1606—1669 


—6°0 


. THE ANNUNCIATION TO THE SHEPHERDS. Bartsch 


44. In one-half inch ebony frame. 


. CHRIST PREACHING, CALLED THE “LITTLE LA 


TOMBE”. Bartsch 67. Fine impression, with the water- 
mark “Coat of arms of Amsterdam” and the initials “P. 
M.” below it. Paper is in perfect condition and with a 
margin of 15mm. all around. Im one-half inch ebony 
frame. 


209. CHRIST CHASING THE MONEY CHANGERS FROM 


THE TEMPLE. Bartsch 69. First state; fine impres- 
sion on paper with the watermark Wibiral 8g. Fleur-de-lis, 
below it a shield with three oblique crossbars and under 
that the monogram W. R. & 4. No margin; trimmed 
closely to the border line. From the J. A. Boerner, W. E. 
Drugulin, Dr. A. Strater and P. v. Baldinger Collections. 
In one-half inch ebony frame. 


210. CHRIST HEALING THE SICK, CALLED THE “HUN- 


DRED GUILDER PRINT.” Etching by Leopold 
Flameng. Proof on etching paper. 


Second Session, Thursday Evening, May 4th 


RYLAND, WILLIAM WYNNE. 17382—1783 


211. LADY SEATED IN RUSTIC CHAIR. Stipple-engraving. 
Engraved and published 1775 by W. Wynne Ryland. 


, oe 
ats Printed in red. Framed. 
212. (I.) VUE DE FONVILLE. (II.) VUE DE FONVILLE. 
Br Od Etchings. After Boucher. Rarer ETCHINGS IN PERFECT 
ee CONDITION AND OF A BEAUTIFUL SILVERY QUALITY. (2) 


SADLER, W. DENDY 
213. THE OLD AND THE YOUNG. Etching after Sadler. 


Proof impression. In small letters beneath print “In 
progress for the Proprietors Arthur Tooth and Sons.” 


SCHMUTZER, FERDINAND 
/ sia 214. THE SECRET. Painter-etching. Signed proof on laid 


paper. In three-eighth inch ebonized wood frame. 


SCORODOOMOFYF, 


215. ULYSSES DISCOVERING ACHILLES.  Stipple-engrav- 
ing. After Angelica Kauffmann. Folio. Printed in red. 


7.02 2 aaa 
es. Original impression with margins. 

SMITH, JOHN RAPHAEL. 1752—1812 
7 216. BELISA. Stipple-engraving. Designed and published by 
7, Q at J. R. Smith. Small folio circle. Framed. 

SMYTHE, RICHARD 

ee 217. LADY DAY. Mezzotint. Signed artist’s proof, printed in 
ae colors. Framed. 


218. MARCHIONESS OF SALISBURY. Mezzotint. After 
so Reynolds. Signed artist’s proof, printed in colors. 


ye 


Second Session, Thursday Evening, May 4th 


SPARKS, NATHANIEL 


> 219. ST. CLEMENT DANES, STRAND, LONDON.  Painter- 
etching. Signed proof on O. W. P. and A. C. L. paper. 


7 ed 


ae 


SPORTING SUBJECTS 


220. ALKEN (HENRY). Scraps, from Alken’s Sketch Book. 
| London, Pub. McLean, 1825. Original impressions. 
pee Coach—Dog Cart—Shooting—Hunting, etc. Framed. 


(6) 


ad 


221. BEAUVARLET. After Oudry and C. Huet. . La Surprise 
du Renard—La Garde Fidelle. French 18th Century lne 
y fe Hes engravings. (2): ’ 


222. BUFFALO HUNT: Approaching—The Chase. Colored 
D _ lithographs after Catlin. Folio. (2) 


223. DEAN (J.). The Earl of Darlington and His Fox Hounds. 

Stipple-engraving. B. Marshall pinx. Printed in colors. 

/ OP Cut close, margins at sides and top replaced. Rarr anp 
x VALUABLE. Framed. 


224. DODSON’S HUNTING INCIDENTS. Aquatints in color. 

Painted by T. N. H. Walsh. Engraved by E. G. Hester. 

v Published, 1878. Early impressions. Mounted on 
Fd eee stretchers and framed. (6) 


225. EARLOM (RICHARD). Draft Horse. Mezzotint. Scene 
in the yard of Barclay and Perkins Brewery. After G. 
O ay Garrard. Proof before letters. Boydell, 1791. 
7. 


226. HILL (J.). The Hunter—The Racer. Aquatints. Ovals. 

Printed in colors. Among the earliest sporting prints 
; published in New York. WELL EXECUTED AND OF GREAT 
/ rarity. Folios. (2) 


—— 


IO 


ST Be UO 


WRIGH WiTHoUT A PYLor 


¢ 


COACHING SCENES 
(See No. 230) 


Second Session, Thursday Evening, May 4th 


SPORTING SUBJECTS. (Continued) 
227, HUNT (C.). Satirist. Aquatint. Painted by G. B. Spal- 


s ding. Printed in colors. Original impression. In FINE 
f A ry) 5 
Lue CONDITION. 


228. LA CHASSE AUX OISEAUX. Line-engraving. After 


56 Teniers. Engraved by Major. 1747. Small folio. 
Sa 
: Framed. 
, 229. THE OXFORD HUNT: The Start. Aquatint. Printed in 
/6 9 colors. Old impression. 


230. UNDER WEIGH WITHOUT A PILOT—NO TIME TO 
o? SPARE FOR REFRESHMENTS. Aquatints in colors. 
(60 * oat Engraved by J. Harris after C. B. Newhouse. Ackermann, 
1836. OriGINAL IMPRESSIONS. (2) 
(See Reproductions ) 


231. VIEW FROM NATURE: Horses in a field. Aquatint. Large 
/ ob goed folio. An agreeable subject printed in colors. Without 
margins. Framed. 


STAINER, R. 
232. DUCHESS OF RUTLAND. Stipple-engraving. Folio oval, 
/ G ie printed in brown. A RARE AND VALUABLE PORTRAIT. 
nS Framed. 


STEVENSON, F. G. 
233. MRS. PAYNE GALWAY AND CHILD. Mezzotint. Signed 


ack O artist’s proof, printed in colors. Impression No. 27. 


STODART, E. 


234. LADY COCKBURN AND CHILDREN. Stipple-engraving. 
After Sir Joshua Reynolds. Signed artist’s proof, printed 
- 0° in color. 
JS 


per ate 


Second Session, Thursday Evening, May 4th 


STONE, MULREADY 


235. GEORGE STREET, LONDON. Painter-etching. Signed 
\ proof on thin laid paper. In three-eighths inch ebony 


wer frame. 


‘TROWBRIDGE, VAUGHAN 


\. 286. SAINT TROPHIME, ARRAS. 1911. Painter-etching. 
Signed proof No. 43. on Japanese paper. Edition limited 
to 110 impressions. In one-half inch ebonized chestnut 
frame. 


237. THE COURTYARD. 1911. Painter-etching. Signed proof 
No. 2. on Japanese paper. Edition limited to 30 impres- 
f sions. In three-eighths inch English oak and ebony frame. 


aoe 


238. OLD HOUSES NEAR THE ARENA, ARLES. 1912. 
Painter-etching. Signed proof No. 20 on Japanese paper. 
Edition limited to 30 impressions. In one-half inch ebony 
frame. 


239. OLD CLOISTERS, VILLENEUVE NEAR AVIGNON. 
s Etching. Signed artist’s proof, printed in color. No. 
/ We 7 17 of 55 impressions. 


VALCK, G. 
240. WILLIAM AND MARY, KING AND QUEEN OF ENG- 


ro LAND. Mezzotints. Brititrant impressions. Folios. 


6 (2) 


VAN ’S GRAVESANDE, CH. STORM: 1841— 


- D> 241. APPROACH TO VENICE. Painter-etching. Signed proof 
a on Whatman paper. 


SAN FRANCISCO VIEWS 
(See Nos. 255-259) 


Second Session, Thursday Evening, May 4th 


VAN ’S GRAVESANDE, CH. STORM. (Continued) 


ee ae, THE HARBOR OF VLISSINGEN. Holland. Painter-etch- 
if Oo ing. Signed proof on Japanese paper. 


po 243. A FLAT CALM. Painter-etching. Signed proof on What- 
A Ao man paper. 


VIEWS OF AMERICAN CITIES, ETC. 
244. BOSTON FROM THE SHIP HOUSE, West End of the 


a ee Navy Yard. Aquatint engraving. Painted and engraved 
in aquatint by W. J. Bennett, 1838. Proof before letters. 
BEAUTIFUL ORIGINAL IMPRESSION. 


245. CHARLES-TOWN, the Capital of South Carolina. Line-en- 
7, 2? graving. Painted by Thos Leich. Engraved by Saml 
= Smith. Published June, 1776. Large folio. 


246. CLEVELAND, OHIO. Lithograph in colors. Folio. Show- 
90 ing statue of Oliver H. Perry. Lithograph by Sarony 
ees Major & Knapp. 1859. Folio. 


247. HARTFORD, CONN. Gallaudet Monument. Lithograph 


on stone by A. Newsam. Large folio. 1855. 


a. 248. HUDSON, NEW YORK. Great Fire at Hudson. Litho- 
26 graph. Folio. Colored. Drawn by W. H. Clarke, 1838. 


249. HUDSON RIVER from Fort Lee—VIEW OF THE NAR- 
Or do? ROWS from Staten Island. Colored lithographs. Small 
—— folios from Nature and on stone by Charles Gildemeister. 


Published 1851. Framed. (2) 


250. PRINCETON, N. J. Nassau Hall. Lithograph in colors by 
Robertson, 1858. Rare view. 


251. NEWPORT, R. I. Ruins of Norse Tower, &c. Lithograph 
5 by Endicott and Sweet, N. Y. after W. G. Wall. Pub- 
; eae lished by H. Barber, Newport, R. I., 1833. Small folio. 
ies Rare. 


Second Session, Thursday Evening, May 4th 


VIEWS OF AMERICAN CITIES, ETC. (Continued) 


Say. ¢ 252. NEW YORK from Hobuck Ferry House, New Jersey. Aqua- 
Af) tint in color. Alexander Robertson Delineavit. Francis 
rs Bees Jukes Sculpsit. Published Mar. 31, 1800 by F. Jukes 

2 [ 9 is and by Al. Robertson Columbian Academy Liberty St., 
Y N. Y. Folio. Supers mrpRESSION OF THIS RARE AND VALU- 
ABLE PRINT. (See following item). 
; 253. MOUNT VERNON IN VIRGINIA, the Seat of the late Lieut 
ta -< 30 General George Washington. Aquatint in colors. Alex- » 
a US — ander Robertson Delineavit. Francis Jukes Sculpsit. 


(See preceding item). 


* \ 254. NEW YORK. Vue General. Lithograph par Le Breton. 
\t \ ‘ a, 4 52: Colored. Folio. Rarer view IN PERFECT CONDITION. 

\ \ — 255. SAN FRANCISCO, CALIFORNIA. Original Oil Painting 
ro on Whatman paper, by Fred Tobin, 1850. Height, 1314 
\ M inches; width, 1914 inches. View of San Francisco taken 
from the Southern Extremity of the town, called Rincont 


” te On Point, looking towards the town, with Telegraph Hull in 

/ Centre background, showing idle shipping in harbor. 
Rare contemporary view of San Francisco in the early 
mining days, taken on the spot. The following statement 
(~ was penciled on the back of one of the old frames from 
ly \ which this and the following four paintings were taken,— 


“Painted by Fred Tobin, 1850,—who had recently been 
Secretary to the Society of Foreign Artists.” THis anp 
THE FOLLOWING FOUR LOTS ARE APPARENTLY THE EARLIEST 
AUTHENTIC VIEWS OF SAN FRANCISCO EXTANT. 


256. SAN FRANCISCO, CALIFORNIA. Original Oil Painting 
on Whatman paper, by Fred Tobin, 1850. Height, 1314 
hos: inches; width, 1914 inches. View from west of the town, 


i Da Dice looking across the Bay, showing part of idle shipping in 

ff harbor. Section delineated is that which was evidently 

i s/\ later bounded by Market St., the coast extending to Rin- 
¢€ ™ t 


cont Point and thence south to about what was then 
Second St. Hills on opposite side of Bay are shown. 


Cc 


v 


oe OOM 
Z es accel 


SAN FRANCISCO VIEWS 
(See Nos. 255-259) 


VIEWS OF AMERICAN CITIES, ETC. 


Second Session, Thursday Evening, May 4th 


(Continued ) 


257. SAN FRANCISCO, CALIFORNIA. Original Oil Painting 


Oo 


ee 
#) 
/2< 


on Whatman paper, by Fred Tobin, 1850. Height, 131% 
inches; width, 1914 inches. View from west of the town, 
looking east across the Bay. In the foreground the land 
between Market St. from about the point of the old Marine 
Railway to Point San Quentin can be seen, with a few 
scattered houses, marshy land in south, range of hills 
across the Bay. 


- SAN FRANCISCO, CALIFORNIA. Original Oil Painting 


on Whatman paper, by Fred Tobin, 1850, Height, 13814 
inches; width, 1914 inches. View of the Burying Ground 
on the North Beach and Sanceletor, the anchorage of the 


Vessels of War. 


. SAN FRANCISCO, CALIFORNIA. Orignal Oil Painting 


on Whatman paper, by Fred Tobin, 1850. Height 131% 
inches ; width, 1914 inches. View of the North Shore, from 
vicinity of North Point, where a few scattered miners’ 
cabins are shown, looking west through the Golden Horn, 
with hills on opposite shore. 

(See Reproductions) 


. SEVENTH REGIMENT, N. Y. National Guard at Camp 


Worth, Kingston, July, 1855. Colored lithograph. Pub- 
lished 1856 by Otto Botticher. Perfect copy of this fine 
and interesting print. Framed. 


. SAVANNAH, GEORGIA. Burning of Savannah. Aquatint 


in color. Painted by J. Shaw. Engraved by J. Hill. 
Published by W. Carey and Son, Philadelphia. 


TEXAS: 11M Vue de Argleville Colonie de Texas Riviere 


de la Trinite Fort Charles. Aquatint. Dessine et grave 
par Yerenray. Printed in color. Contemporary view of 
the early settlement by the French near the Sabine river. 
Small folio. Rare. 


Second Session, Thursday Evening, May 4th 


VIEWS OF AMERICAN CITIES, ETC. (Continued) 


. 263. VUE DE LA VILLE et du Port de Rio Janeiro. Aquatint. 
Re ee After Garneray by Hinley. Printed in color. Folio. 


—_—_— 


264. VIEW OF THE TAKING OF QUEBEC, September 13, 1759. 
oo Line engraving. Contemporary impression and coloring. 
A ae aed Folio. 


VISSCHER, CORNELIS. 1620—1670 


265. QUEEN ARTEMISIA. After Parmeggiano. Line-engrav- 
ing. Dutuit VI. No. 51. Third state, before “G. Valk 
go ex.” Fine impression; MOTHER AND CHILD. En- 


graver unknown. Proof before all letters. (2) 


VON MULLER, JOHANN GOTTHARD 


266. MME. VIGEE LE BRUN. Line-engraving after her own 
<p painting. In two and five-eighths inch antique oak and 
oe en bronze frame. 


WALKER, WILLIAM. 1791—1867 


267. ST. SULPICE, PARIS. Painter-etching. Signed proof on 
- 0° Head paper. 
4— 


WALTNER, CHARLES 


C 
a) 


268. A PHILOSOPHER. Etching after Rembrandt. Proof before . 


v 
3 ie mahogany and bronze frame. 
269. LADY MULGRAVE. Etching after Thomas Gainsborough. 
72 1886. Signed proof on vellum. In two and one-half inch 
—_ 


mahogany and bronze frame. 


all letters on Dutch paper. In three and one-half inch Y 


Second Session, Thursday Evening, May 4th 


WATTEAU, ANTOINE. 1684—1721 


270. LA POLLONNOISE BY AUBERT—MEZETIN BY B. 
02 AUDRAN. 18th Century French _line-engravings. 
1a) rag Framed. (2) 


WEBSTER, HERMAN A. 


271. COIN DU VIEUX MARCHE, MARSEILLES.  Painter- 
etching. Signed proof on Japanese paper. The etcher’s 
2 6 of own printing. Edition limited and plate destroyed. 


272. THE OLD BRIDGE, ACROSS THE MAIN, FRANKFORT. 
Painter-etching. Signed proof on Japanese paper. The 

ppero © etcher’s own printing. Edition limited and plate de- 
/° ira stroyed. In one-half inch ebonized wood frame. 


WHISTLER, JAMES ABBOTT McNEILL. 1834-19038 


273. LA VIEILLE AUX LOQUES. Painter-etching. One of the 
“Twelve Etchings from Nature”. Kennedy No. 21. 
Lf eae Third state, the printer’s name and address have been re- 
moved. Proof on thin Japanese paper. In one-half inch 

ebonized wood frame. 


274. BLACK LION WHARF. 1859. Painter-etching. Kennedy 


ST-. 42. Third state; on thin laid paper. One of the “Sixteen 
/ i etchings.” In five-eighths inch ebonized wood and gold 
frame. 


275. BILLINGSGATE. 1859. Painter-etching. Kennedy No. 


ny RN ey 47. Eighth state. In one-half inch gilt frame. 
eee 
276. BIBI LALOUETTE. 1859. Painter-etching. Kennedy 51, 
ens. 2 second state. Proof on Japanese paper. In one-half inch 
2 


ebonized wood frame. 


Second Session, Thursday Evening, May 4th 


WHISTLER, JAMES ABBOTT McNEILL. (Continued) 


277. SKETCHING No. 1. (Whistler Sketching), 1861. Painter- 
ae: etching. Kennedy No. 86. Fourth state; PORTRAIT 
Be OF WHISTLER, by L. Pellegrini. Halftone. (2) 


278. ST. JAMES’S STREET. Painter-etching. Kennedy 169. 

Fourth state; the width of the plate is reduced from 6% 

es to 5% inches and the clouds in the left upper corner have 

1 Gas been removed. Proof on thin laid paper. In one-half 
inch gilt wood frame. 


279. WHISTLER’S PORTRAIT. Etching from life by Mortimer 
Menpes. Signed proof on Japanese paper printed by the 


Fe etcher. In one-half inch bronzed wood frame. 


WILKIE, DAVID. 1805—1841 


280. THE BLIND FIDDLER BY JOHN BURNET—THE VIL- 
- LAGE POLITICIANS BY RAINBACH. Line engrav- 
/b ed ings. After Wilkie. (2) 


WILSON, SYDNEY E. 
281. LADY SMYTHE AND CHILDREN. Mezzotint. After Sir 


o 
/ 4. ie Joshua Reynolds. Signed artist’s proof on India paper. 


WYLLIE, W. L. 


7? 282. THE LAST TRICKLE OF FLOOD. Original etching. 
am Signed proof on O. W. P. and A. C. L. paper. 


ZORN, ANDERS. 1860— 


283. FRIGHTENED. 1912. Painter-etching. Signed proof in 
— "i O° brownish ink on Van Gelder and Zoonen paper. In three- 
0 eighths inch ebonized wood frame. 


Second Session, Thursday Evening, May 4th 


ZORN, ANDERS. (Continued) 
284. VALLAKULLAN. 1913. Painter-etching. Signed proof 


in brownish ink on Van Gelder and Zoonen paper. In 
jd a” one-half inch mahogany frame. 


285. SHALLOW WATERS. 1913.  Painter-etching. Signed 
proof in brownish-black ink on Van Gelder and Zoonen 
paper. In one-half inch ebonized wood frame. 


; — & oO 
0) 6— 
/ 286. GURLI. 1914. Painter-etching. Signed proof in brownish 


ink on Van Gelder and Zoonen paper. In three-eighths 
inch ebonized wood frame. 


7 
AMERICAN ART ASSOCIATION, 
MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


FOR INHERITANCE TAX 


AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


INTELLIGENT APPRAISEMENTS 


OF 


ART AND LITERARY PROPERTY 
JEWELS AND PERSONAL EFFECTS OF EVERY 
DESCRIPTION 


IN CASES WHERE 


PUBLIC SALES ARE EFFECTED 


A NOMINAL CHARGE ONLY WILL BE MADE 


THE AMERICAN ART ASSOCIATION 


MADISON SQUARE SOUTH 
NEW YORK 


TELEPHONE, 3346 GRAMERCY 


COMPOSITION, PRESSWORK 
AND BINDING BY 


“ee iey 


— < 


As 


1916 v3 NeAm c.1 yl Nata 
American /Etchings and color prin eeaceeemma 
86-P7030 | | 


3 3125 01157 8034 


